Arts & Culture | Film

A Jewish filmmaker working in Buenos Aires can be forgiven if he is a bit paranoid. Given ongoing events in Argentina, culminating in the ongoing investigation of the death of Alberto Nisman, the prosecutor in the AMIA bombing case, you would have to be insane not to be suspicious.

The 1980s were arguably the worst decade in American film history. So if I tell you that there are not one but two new documentaries about Cannon Films, the schlocky ’80s film production company led by Israeli cousins Menachem Golan and Yoram Globus, you probably will shake your head and ask why. I would have thought even one film about those two characters would have been excessive, but after seeing “Electric Boogaloo: The Wild, Untold Story of Cannon Films,” a new film by Australian film maven Mark Hartley, I have to admit that it was worth a couple hours of my time.

It was a strange interlude in the savagery of war. In early 1945, with the full approval of the German commanders on the ground, a convoy of British soldiers was given free passage under a flag of truce to see the concentration camp at Bergen-Belsen. The ostensible reason for this unusual event was the Germans’ concern that the typhus rampant in the camp not spread to the neighboring towns when the British troops inevitably pushed through the beleaguered German lines.

One of the comforting aspects of a film festival designed around a theme is that there will be certain familiar standbys. With the New York Jewish Film Festival, wrapping up its 24th annual event, one is drawn to two regular aspects of home cooking: the presence of a director who can be counted on for a reliably intelligent film, and the inevitable documentaries about Jews in the performing arts.

In the first of three articles on this year’s New York Jewish Film Festival, now underway at Lincoln Center, the continuing growth of the event was attributed in part to the splendid creative effulgence of the Israeli film industry during the nearly quarter-century of the festival’s existence. This year’s festival, the 24th annual, is an excellent example, with the final film in a splendid trilogy and a debut feature of consummate art and feeling contributed by Israeli filmmakers.